Media madness reigns supreme in screenwriter Paddy Chayefsky's scathing satire about the uses and abuses of network television. But while Chayefsky's and director Sidney Lumet's take on television may seem quaint in the age of "reality TV" and Jerry Springer's talk-show fisticuffs, it's every bit as potent now as it was when the film was released in 1976. And because Chayefsky was one of the greatest of all dramatists, his Oscar-winning script about the ratings frenzy at the cost of cultural integrity is a showcase for powerhouse acting by Peter Finch, Faye Dunaway and Beatrice Straight (who each won Oscars), and Oscar nominee William Holden in one of his finest roles. Finch plays a veteran network anchorman who's been fired because of low ratings. His character's response is to announce he'll kill himself on live television two weeks hence. What follows, along with skyrocketing ratings, is the anchorman's descent into insanity, during which he fervently rages against the medium that made him a celebrity. Dunaway plays the frigid, ratings-obsessed producer who pursues success with cold-blooded zeal; Holden is the married executive who tries to thaw her out during his own seething midlife crisis. Through it all, Chayefsky (via Finch) urges the viewer to repeat the now-famous mantra "I'm as mad as hell, and I'm not gonna take it anymore!" to reclaim our humanity from the medium that threatens to steal it away.
The main character
Howard Beale is a fictional character from the movie Network (1976). He is played by Peter Finch, who won a posthumous Oscar for the role.
In the movie, Beale struggles to accept the ramifications of the social ails and depravity existing in the world he reports on; rather than give him the psychiatric assistance that some (like his friend Max Schumacher) believe he needs, his producers use him as a tool for getting higher ratings. The image of Howard Beale, in a beige coat with his wet, gray hair plastered to his head, standing up during the middle of his newscast saying, "I'm as mad as Hell, and I'm not going to take this anymore!" ranks as one of the most memorable scenes in film history (the line made #19 on the American Film Institute's list of 100 great movie quotes).
Beale's career as "The Mad Prophet of the Airwaves" is sparked by his half-joking offer, after receiving his two-weeks' notice, to kill himself on nationwide TV. He subsequently apologizes to his viewers, telling them he "ran out of bullshit". Viewers respond positively and Beale is given his own show where he can say whatever he likes. Unfortunately for the network, he exposes the ties between CCA, the corporation that owns the network, and business interests in Saudi Arabia. Arthur Jensen, CCA chairman and chief stockholder (played by Ned Beatty), thunderously explains to him his belief that money is the only true god, whereupon Beale completely turns his message around; before, he told people their lives had value and meaning, but after his meeting with Jensen, he says the opposite. His ratings drop, but Jensen orders him kept on; network executives order him to be assassinated. The film concludes with the murder of Beale on national television; a voiceover proclaims him "the first known instance of a man who was killed because he had lousy ratings."
Main Plot
Howard Beale (Peter Finch), the longtime anchor of the UBS Evening News, learns he has just two more weeks on the air because of declining ratings. The following night, he announces on live television that he will commit suicide by shooting himself in the head during next Tuesday's broadcast.[3] UBS fires him after this incident, but — after some persuasion from UBS News' old guard president and Beale's best friend, Max Schumacher (William Holden) — lets him back on the air, ostensibly for a dignified farewell. Beale promises he will apologize for his outburst. However, once on the air, he launches into a rant claiming that life is "bullshit". Beale's outburst causes the newscast's ratings to soar.
Much to Schumacher's dismay, the upper echelons of UBS decide to exploit Beale's antics rather than pulling him off the air. In one impassioned diatribe, Beale galvanizes the nation with his rant, "I'm as mad as hell, and I'm not going to take this anymore!" and persuades Americans to shout out their windows during a lightning storm. Soon Beale is hosting a new program called "The Howard Beale Show", top-billed as a "mad prophet." Ultimately, the show becomes the highest rated program on television, and Beale finds new celebrity preaching his angry message in front of a live studio audience that, on cue, chants Beale's signature catchphrase en masse: "We're as mad as hell, and we're not going to take this anymore."
Howard Beale (Peter Finch) delivering his "mad as hell" speechBeginning as a producer of entertainment programming, Diana Christensen's (Faye Dunaway) desire to produce a hit show for the network results in her cutting a deal with a group of radical left-wing terrorists (a parody of the Symbionese Liberation Army, called the "Ecumenical Liberation Army") who film themselves robbing banks, footage to be used as the cold-opening for a new series based on terrorists for the network that she wants developed for the upcoming fall season. When Beale's nervous breakdown-fueled rants bring in high ratings, Christensen approaches Schumacher and offers to help him "develop" the show. He says no to the professional offer, but not to the personal one, and the two begin an affair. When Schumacher decides to end the "Howard as Angry Man" format, Christensen convinces her boss, Frank Hackett (Robert Duvall), to slot the evening news show under the entertainment division so she can produce it; Hackett fires Schumacher at the same time. The romance withers as the show flourishes, but in the flush of high ratings, the two ultimately find their ways back together, leading to Schumacher leaving his wife of over 25 years for Christensen. But Christensen's fanatical devotion to her job and emotional emptiness ultimately drives Max back to his wife, warning his former lover that she will self-destruct at the pace she was running with her career. "You are television incarnate, Diana," he tells her, "indifferent to suffering, insensitive to joy. All of life is reduced to the common rubble of banality."
When Beale discovers that CCA, the conglomerate that owns UBS, will be bought out by an even larger Saudi Arabian conglomerate, he launches an on-screen tirade against it, encouraging viewers to send telegrams to the White House telling them, "I want the CCA deal stopped now!" This throws the top network brass into a state of panic because the company's debt load has made merger essential for survival. Beale is then taken to meet with CCA chairman Arthur Jensen (Ned Beatty), who explicates his own "corporate cosmology" to the attentive Beale. Jensen delivers a tirade of his own in an "appropriate setting," the dramatically darkened CCA boardroom, that suggests to the docile Beale that Jensen may himself be some higher power — describing the interrelatedness of the participants in the international economy, and the illusory nature of nationality distinctions. Jensen's world view ultimately persuades Beale to abandon his populist messages. However, television audiences find his new views on the dehumanization of society to be depressing, and ratings begin to slide. Despite this, Jensen will not allow executives to fire Beale as he spreads the new 'evangel.' Seeing its two-for-the-price-of-one value — solving the Beale problem plus sparking a boost in season-opener ratings — Christensen arranges for Beale's on-air assassination by the same group of urban terrorists whom she discovered earlier and who now have their own UBS show, The Mao Tse-Tung Hour. It is, the voice-over assures, "the first known instance of a man who was killed because he had lousy ratings."
Regards,
Muhammad Owais
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